Posts Tagged ‘Advertising’

Black is the new noir

Thursday, July 8th, 2010
TonyBlack

The Gate has created the new online trailer for rising star of British crime fiction Tony Black.

The release marks the launch of the fourth in Tony Black’s series of ‘Gus Dury’ novels “Long Time Dead” published by Random House. These dark tales feature the ‘enthusiastic alkie and reluctant private eye’ in pursuit of crime and corruption and self-destruction.

He’s back on the case, and back on the drink. This time Dury is investigating the ritual murder of an Edinburgh University student – coupling his quest for self-destruction with a relentless thirst for the truth.

As writer Tony Black says, Edinburgh creates the perfect backdrop for crime fiction. “You’ve got your rich Edinburgh and your poor Edinburgh – the ornate buildings and the sink estates. When these two worlds collide, it’s perfect fodder for a crime writer.”

Tony’s work has been garnering praise from all corners with modern literary legend Irvine Welsh rating Black as ‘my favourite British crime writer’.

The trailer by the advertising agency will be featured exclusively on Amazon.

[vimeo 12984341]

Any time, any place, any where…

Tuesday, June 15th, 2010
Anywhereanyplace

Any time, any place, any where… the great line from the great Martini advertising campaign from the late 1970’s early 1980’s.  When I was young it was the one drink you were allowed at family gatherings. In the grand scheme of other drinks from that era, Warniks Advocat, Babysham or Bezique (affectionately known as be-seek) none of them have lasted the ‘taste of time’.

The early ads featured the late Leonard Rossiter and a very young Joan Collins, who incidentally, doesn’t look any older nowadays, and poor Joanie always ended up with a drink being poured over her.

In the later years, the ads became much more ‘cool’ and it became apparent that you could only drink Martini on a beach in Nice served by the waiter wading into the sea…

… or indeed the boardroom of an office block in down town L.A. served by a very young Nicollette Sheridan on roller boots!

These ads came from an era when Milk Tray chocolates were delivered by a man all dressed in black ski-ing down a mountain and would leave his calling card – probably not advertising the fact that he was a double glazing salesman or that he had a wife and 3 kids at home!!!

Martini is even more popular now with the many cocktail variations it comes in – who hasn’t tasted a French Martini?  Even James Bond made it super cool with his famous “Vodka Martini, shaken not stirred” pulling line from the best of his movies.

With the new “Sex and the City” film being released, I think we should all sit back and relax with our cocktail Martini’s in hand, just make sure you don’t tip it over the person sitting next to you by mistake!!!

Image via katcolorado


The power of time off

Tuesday, May 25th, 2010
Good-poweroff

Austrian designer and typographer Stefan Sagmeister is renowned for his creative and often radical ideas but when he decided to close his New York studio, for a year long sabbatical, was it agency suicide or his best idea yet?

 

What do you think? Can you see this idea working for any Scottish or UK-based advertising, design or marketing agencies?

(She asked hopefully.)

Image via here

An Eulogy to Cover Design

Tuesday, May 18th, 2010
RachHorseCakes

Last week I dragged a reluctant friend along to a Race Horses gig: a little known band from Mid Wales, destined for, according to all recent reviews “big things” and as it happens friends of mine from school. Now this isn’t a shameless plug, although they are very good and the gig, despite consisting of myself, aforementioned friend and the only other Welsh people in Edinburgh, was utterly entertaining. I was even compelled to buy a CD. The artwork was instantly eye-catching. The cover of the debut single ‘cake’ is almost an orgiastic celebration of all things confectionery, marred by a sickly and sinister sugar coated veneer. Whether you share my enthusiasm for the above design isn’t massively important. The artwork, regardless of its design merit, represents for me a diminished and once celebrated medium – the tangible expression of music as envisaged through the art of the sleeve.

It was in 1939 that cover art was first conceived but it was in the creative ebullience of the 60s that the true potential of the sleeve was realized both as a marketing tool and a conduit for artistic ‘aesthetic.’ Album artwork not only included extravagant and diverse images but elaborate fold out sections and pop-out souvenirs, epitomized perhaps by the Beatles’ Sgt Pepper’s Lonely Hearts Club Band.

I am not purposely viewing by gone-times with overbearing sentimentality, although I do suspect I was born in the wrong era. There have always been fantastic album covers as well as the despicable, however artwork is no longer an essential part of the musical culture. With the dawn of the digital age, (some would argue the damage was done with the onset of tapes and CDs) people now choose to download music. Album artwork bears little more significance than a centimetre square on an ipod screen, and even less significance on an ipod nano.

Luddite I hear you cry! A false charge, I own many pieces of electrical equipment, and have irreparably damaged many more, although I will admit to being somewhat technically backward. In fact, I’ve just been given my very first MP3 player and am phenomenally excited about joining the digital revolution. Where’s my pixelated Molotov cocktail? Furthermore I agree that design creativity continues to play an essential role within the music industry, except that the canvas has now changed: websites, my-space pages and you tube videos are now the dominating visual medium. Album covers are being re-designed and simplified in order to remain striking in thumbnail size. Programmes are available to download Album covers or order prints online and I’m told that flicking through sleeves on ipod cover flow looks very cool indeed (not that I know what that actually means!).

My suspicions aside about how effective an album cover can ever truly be in minuscule scale, it seems to me that album covers are hardly ever downloaded anymore (and if they are it is often by accident. What is this strange jpeg in my album folder?) Albums, although it seems more apt to call them ‘tracks’ exists in some form of weird digital “other-space”, hard to conceptualise, impossible to flick through in a record crate and often void of any artistic context.

In essence I miss having a physical representation of the music in my hand – to be inspired by the artwork, to see the faces of the band members, to flick through the lyrics, to spot the strange details hiding in the corners, and the secret messages for the truly hardcore fans. This all helps to give a context, a familiarity and a connection with the music.

Of course music should be primarily about the music but that’s the exquisite nature of the medium. Music at its best is not solely an audio experience – it tickles and invokes a whole range of sensations. Sleeve design at its best is a part of and intensifies that experience. It stands alone as a piece of great visual art but also wholly compliments and enhances the music. The care and time spent on sleeve design is surely indicative of the care and time poured in to the music it lovingly encompasses.

Overall, in terms of both accessibility and functionality it’s very hard to fault music’s new digital platform, except that is in terms of sleeve design. However I’m comforted by the knowledge that there are bands, such as Race Horses, that continue to create not only great music but great music packaging often strange, sometimes intriguing, and in those rare cases seminal representations to stimulate the visual as well as audio receptors of our brains.

Trailer Trash

Tuesday, May 4th, 2010

movietrailer

Everyone knows that blockbuster movie advertising is full of outrageous cliches – but when your mind is on your popcorn and your Westler’s hot dog, you often don’t notice how ridiculous they are.

In this inspired spoof by New York comedians Brian McElhaney and Nick Kocher, no cheesy trailer tradition goes un-mocked.

So the next time you’re down at the Multiplex, waiting to see the latest zombie-vampire-apocalypse-romcom, have a wee game of Spot The Cliché. Chances are you’ll never be able to take a movie trailer seriously again…

[youtube=http://www.youtube.com/watch?v=nFicqklGuB0]

TS Eliot – Mixing poetry and business

Monday, June 8th, 2009
TSElliot

TS Eliot the former Faber editor talks about his views on advertising. So it was in 1931 when TS Eliot wrote this memo to his fellow directors.  Has the world of advertising changed?

Thomas Stearns Eliot, was a poet, playwright and literary critic who received a Noble Prize in Literature in 1948.

I have for some time been increasingly dissatisfied with our style of advertising, and increasingly doubtful of the system. As my dissatisfaction with the first led to my questioning the second, I will take two in order.

Our advertising seem to hesitate between the methods of the younger house which advertise and those of the older houses which merely publish booklists, for the most part, the in the newspapers. While I should be very sorry to see F. & F. adopt the extreme style of one or two publishers, I still think that it is much too young a firm to adopt such conventional advertisement as we do. Our advertisements seem to have an apologetic tone and lack of confidence in the value of what we have to sell. Mere lists of books impress no one; and  commendatory quotations /{in small type} even from the best papers, carry very little weight. I should like to see advertisements which would give the impression that we have at any moment at least one book to advertise, in potential popularity of which we have ourselves entire confidence.

Scroll I must make it clear that I do not pretend to possess the slightest ability of advertising, which is a special study for special talents. But I think that the ordinary educated reader’s impression of our advertising may be very similar to my own. I am however sure that whatever schemes of advertising may be preferable, we need a new method of producing them advertisements.

At the present our advertisements seem to be the product of one man – and that is far too few – and in a sense also the product of the whole committee – and that is too many. The committee thinks from hand to mouth; and the subject with which it chiefly deals – what book to include and what to leave out of the week’s advertisements – is really, from the wider point of view of the general programme, a mere detail. This general programme does not exist. What I wish to emphasise is that advertising is a study demanding special capacities; it does not fit in with the other dork of C.W.S. , who already has quite enough to do in his own departments without it; and that it requires a certain continuous study of the situation, and a continuous creative or intensive exercise.

I suggest that a small sub-committee should have full powers; within the sum allotted they should have control, and of course subject to retrospective criticism from the whole book-committee. They should be responsible for the whole programme for each season, including circulars and catalogues.

.     .    .    .    .    .    .    .    .    .

A subject which intersects with that of advertisement is that of our volume of production. I think that we tend to publish too many books. This is related to advertising in this way, that we cannot afford more space at present than we do take, and this is almost invariable overcrowded. I do not object to taking risks on those type of books which may be either great successes or great failures; but we seem to have too many books which make little money, and (especially in the present times) will probably lose just a little money. I do not think that the principle of publishing any book which is good of its kind, and which seems likely just to “get home”, is the right one; though I think every publisher ought to publish a few books, if they are very good, on which he knows that he will lose money. And in general, we do not seem to be quick enough in following changes of the market: if we had, we might have saved money dropped on limited editions.

In fine, I feel that the committee system has been a little overdone, in that it tends to relax individual responsibility. In such an atmosphere, and especially in a committee which has to deal rapidly with a great variety of business and of books in an afternoon, any one person may now and then wake up to find that something has been done against which.he would have protested had he been alert. I do not know whether it is possible to give the committee more organic unity by a clearer division of functions between individual members, but just as the man who produced books naturally has a slightly different point of view from the man who has to sell them, so if each member were expected to have devoted more attention to certain aspects of the integral problem of publishing, the result might be less haphazard. It is not enough to publish a good and advertisements for publishing firm is for that firm to develop a distinct character which shall become recognised by the trade and the public.

T.S.E.

9.12.31

The book committee was a weekly meeting where all decisions were made.

http://en.wikipedia.org/wiki/TS_Eliot

For Thine is the Kingdom

For Thine is

Life is

For Thine is the

This is the way the world ends

This is the way the world ends

This is the way the world ends

Not with a bang but a whimper.

Post written by Eve Fairley-Chickwe


Is advertising history?

Wednesday, May 7th, 2008

Frankly, yes. But not in the way industry insiders think.

The communications challenges that brands and organisations face are greater than ever. There’s more noise in the market. More competition for the spending and attention of the consumer. More ways of reaching people. And even greater resistance from the audience. More cynicism. More demands. Less trust.

And yet, if you look at the real history of ‘advertising’ in its widest sense, plus ca change, plus c’est la meme chose. Literally, for the marketing challenge, it’s more of the same.

So, why not take the long-term view? Take a few minutes to view our interactive history of advertising. As well as giving your fevered marketing mind a breather (and that’s a good thing), you’ll benefit from the perspective. After all, when you recall that writing itself was once considered so new and remarkable, you may begin to remember that ‘new media’ itself is not the issue. Developing trust – built on frequency and relevance of communication with your audience – that will always be the issue.

As Not Seen On TV

Wednesday, October 24th, 2007

Is new media consumption killing ‘advertising’? Or has the fundamental challenge of communication hardly changed since pre-history? The Gate Worldwide creative director Pete Martin discusses the impact of the latest ‘gorilla’ tactics in online marketing.
(more…)

Five Pay-Per-Click Mistakes

Monday, October 22nd, 2007

Pay-per-click image

After all the examples, tutorials, seminars, webinars and books on Pay-Per-Click (PPC), you’d think advertisers would have a fairly good grasp of how to use it to benefit their organisation. Sadly, not. Craig Dunn, The Gate Worldwide online marketing guru, is consistently amazed by the lack of awareness of even the most basic PPC techniques. Here he outlines the classic mistakes you can make in PPC campaigns. If you’re doing any of them, it’s a simple fix to more effective PPC campaigns.

(more…)

My Tony Kaye story

Tuesday, October 16th, 2007

American History X

I’m a big fan of continuous professional development and ‘advancing my craft’ and learning new stuff. But, most of all, as a professional creative and commercials director, I like the random nature of inputs. Even with the best-laid plans, you often get something different from what you expect – and that, like many creative projects, just at the point you think it’s going wrong it’s going right. And vice versa. Here’s an example. (more…)